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Flip Phillips” 1 The TENORSAX of JOSEPH EDWARD FILLIPPELLI “FLIP PHILLIPS” Solographer: Jan Evensmo Last update: April 23, 2021, based on thorough research by Tom Buhmann 2 Born: Brooklyn, NY. March 26, 1915 Died: Fort Lauderdale, Florida, Aug. 17, 2001 Introduction: Oh yes, Oslo Jazz Circle was very familiar with Flip Phillips. He visited us three times with Jazz At The Philharmonic; Feb. 1953, Feb. 1954 and Feb. 1956 (all before my time, too young), and in 1987 he recorded for Gemini Records together with our own Bjarne Nerem. His music was highly appreciated. History: After playing clarinet in a restaurant band in Brooklyn (1934-39) and with Frankie Newton (1940-41) he replaced Vido Musso as tenor saxophonist in Woody Herman’s First Herd (1944). While with Herman (1944-46) and later, on tours with Jazz At The Philharmonic (1946-57), he acquired a reputation for his energetic improvisations (notably on Perdido); despite his rather tasteless, honking tone, these performances were popular with the audiences, but unfortunately tended to overshadow his sumptuous ballad playing (as on Sweet and Lovely) and the many swinging,melodic solos he recorded as the leader of small groups. After touring Europe with Benny Goodman (late 1959) Phillips settled in Pompano Beach, Florida, where he played part-time and managed an apartment building. He appeared at the Colorado Jazz Party (1970) and with Herman at the Newport Jazz Festival (1972), and resumed full-time playing in 1975. His later recordings exhibit the control, imagination, and warmth of his playing (ref. New Grove Dictionary of Jazz”). 3 FLIP PHILLIPS SOLOGRAPHY RED NORVO & HIS OVERSEAS SPOTLIGHT BAND NYC. Oct. 28, 1943 Dale Pierce (tp), Dick Taylor (tb), Aaron Sachs (cl, as), Flip Phillips (ts), Red Norvo (vib), Ralph Burns (p), Clyde Lombardi (b), Johnny Blowers (dm), Helen Ward, Carol Bruce (vo). Twelve titles were recorded for V-Disc, eight have FP: 1-2-3-4 Jump Soli 32, 8 and 8 bars. (F) In A Mellow Tone Solo 14 bars. (M) Flying Home Solo 16 bars. (F) Too Marvellous For Words tk 1 As below. (SM) Too Marvellous For Words tk 2 As below. (SM) Too Marvellous For Words tk 3 As below. (SM) Too Marvellous For Words tk 4 Solo with ens 16 bars. (SM) I’ll Be Around tk1 Straight 6 bars. (S) . I’ll Be Around tk 2 As above. (S) The Sergeant On Furlough Solo with ens 40 bars. (FM) The Sergeant On Furlough alt. As above. (FM) N. R. C. Jump Solo 16 bars. (FM) Lagwood Walk Solo 16 bars. (SM) Flip Phillips was already an ‘old man’ on his first recording session, 28 years! It is therefore no surprise this his personal style is fully developed. Red Norvo offers a variety of tempi here, and FP matches them all. Not everything is that exciting here; FP is just a sideman, but for highlights go for the laidback “... Walk” and “N.R.C. ...”. Postscript of Nov. 10, 2020: Note also “Too Marvellous ...” with four fine tenorsax soli (also two breakdowns without FP), and how he is able to play with nice variations, even under constraints. RUSS MORGAN & HIS ORCHESTRA NYC. March 8, 1944 Bigband personnel including Flip Phillips (ts). Two titles were recorded for Decca 18598, no FP on 71839-A “Louise” but: 71840-A Good Night, Wherever You Are Solo 10 bars. (SM) Postscript of Nov. 1, 2020: “Then in 1943, he took a chair in Russ Morgan’s commercial band – not for musical challenge, but security” (ref. Dan Morgenstern and Bob Porter). The solo is very well constructed, a nice archeological treasure. EARL HINES SEXTET NYC. April 26, 1944 Ray Nance (tp, vln), Johnny Hodges (as), Flip Phillips (ts), Earl Hines (p), Al Casey (g), Oscar Pettiford (b), Sid Catlett (dm), Betty Roche (vo-1006,07,08,10). Six titles were recorded for Apollo, no FP on 1006 “Blues On My Weary Mind” and 1010 “I’ll Get By” but: 1007 I Love My Lovin’ Lover Obbligato 12 bars. (SM) 1008 Trouble Trouble Solo 12 bars. (S) 1009 Design For Jivin’ Solo 32 bars. (M) 1011 Life With Fatha Solo 32 bars. (M) Things start to move on this starstudded swingsession. “Design ...” and “Life ...” offer fine and relaxed tenorsax soli in a pleasant medium tempo. Even more exciting is the soft and emotional blues chorus on “... Trouble”, and there is some good background on “... Lover”. CHUBBY JACKSON SEXTET Chi. July 1, 1944 Neal Hefti (tp), Flip Phillips (ts), Ralph Burns (p), Billy Bauer (g), Chubby Jackson (b), Dave Tough (dm). Four titles were recorded for King: K5004 I Gotcha Covered Solo 32 bars. (FM) 4 K5005 Popsie Solo 32 bars. (FM) K5006 Bass Face Solo 32 bars. (FM) K5007 Don’t Get Too Wild, Child Solo 32 bars. (FM) Although this session has a more modern touch, the rhythm is pure swing, and FP has good solo opportunities on all items. Tempo variation would have been a good idea, but when this is said, each and every one of these four items are highly noteworthy, as a whole and for the fine tenorsax soli. WOODY HERMAN & HIS ORCHESTRA Chi. July 4, 1944 Personnel as below, probably Al Esposito for Harris. Broadcast from The Panther Room, Hotel Sherman, four titles, no FP on “125th Street Prophet” and “It’s A Crying Shame” but: A Fellow On Furlough Solo 8 bars. (S) Flying Home Soli 32 and 8 bars. (FM) This seems to be the first existing recording by Woody Herman’s ‘First Herd’, and thus of important historical value. FH offers his first Woody-version of “... Home”, a tune he would play again and again in the years to come, often also together with his tenorsax companion and tenorsax-“... Home”-initiator Illinois Jacquet. Already he knows how to play it! similar Two titles, recorded from radio by Timme Rosenkranz, “Down Under” and “Unknown (based on the chords from “Topsy”)”. Both have tenorsax soli but not sounding like FP, most likely Pete Mondello (“Down ...” is recorded for Decca in 1942 with the same solo structure). WOODY HERMAN & HIS ORCHESTRA NYC. Aug. 2, 1944 Neal Hefti (tp, arr), Ray Wetzel, Pete Candoli, Conte Candoli (tp), Ralph Pfeffner, Bill Harris, Ed Keifer (tb), Woody Herman (cl, as, vo), Sam Marowitz, Bill Shine (as), Pete Mondello, Flip Phillips (ts), Skippy DeSair (bar), Ralph Burns (p, arr), Billy Bauer (g), Chubby Jackson (b), Dave Tough (dm), Frances Wayne, Allan Jones (vo). “Old Gold Show Rehearsal”, three FP solo found: Is You Is Or Is You Ain’t My Baby? Break to solo 16 bars. (FM) Flying Home Soli 32 and 8 bars. (FM) It Must Be Jelly Solo 16 bars. (M) NYC. Aug. 9, 1944 Same. Broadcast “Old Gold Show”, not available. NYC. Aug. 16, 1944 Same. CBS broadcast “Old Gold Show”, three FP soli found: G. I. Jive 12 bars 2/2 with (tb). (M) Red Top Solo with orch 36 bars. (FM) Blues On Parade Solo 12 bars. (F) NYC. Aug. 21, 1944 Same. Broadcast from Cafe Rouge, Hotel Pennsylvania, five FP soli found: Is You Is Or Is You Ain’t My Baby? Break to solo 16 bars. (FM) Irresistible You Solo with orch 8 bars. (S) I’ve Got The World On A String Solo 8 bars. (S) I Ain’t Got Nothin’ But The Blues Solo with orch 16 bars. (S) Flying Home Soli 64 and 8 bars. (FM) NYC. Aug. 23, 1944 Same, except Dick Munson (tp) added (not replacing Billie Rogers who left already Jan. 1944 (ref. Tom Buhmann)), “Old Gold Show Rehearsal”, four FP soli found (note that this version of “Blues On Parade” seems to appear also on other, later programs): Red Top Identical to Aug. 16. (FM) Noah Solo 8 bars. (SM) Golden Wedding Solo with orch 32 bars. (FM) 5 Blues On Parade Solo 12 bars. (FM) NYC. Aug. 28, 1944 Same. Broadcast from Cafe Rouge, Hotel Pennsylvania, three FP solo found: Sweet Lorraine Solo 16 bars. (S) I Ain’t Got Nothin’ But The Blues Solo with orch 16 bars. (S) Flying Home Solo 64 bars. (FM) NYC. Aug. 30, 1944 Same. “Old Gold Show Rehearsal”, four FP soli found: I’ve Got The World On A String Solo 8 bars. (S) Jones Beachhead Solo with orch 16 bars. (M) Four Or Five Times Solo 10 bars. (M) Blues On Parade Solo 24 bars. (FM) Woody Herman should be a home for FP some important years of the forties, and already on the Aug. 2 date he shows why he was such an important asset for the band. It is hard swinging here, and the tenorsax takes the challenge and plays some really hot bigband music on “... Jelly”. He follows up later, particularly “Red Top” is exciting, while “... Home” is too rough for my taste. Note also his beautiful playing in slow tempo, notable particularly on Aug. 21 but also a lovely version of “... Lorraine” the following week. WOODY HERMAN & HIS ORCHESTRA NYC. Sept. 5, 1944 Personnel as above. Recording session for V-Disc, four titles, three have FP soli: Red Top Solo with orch 48 bars. (FM) Jones Beachhead Solo 16+8 bars (as-BS) on bridge. (M) Jones Beachhead alt. As above. (M) I Can’t Put My Arms Around A Memory Solo 8 bars. (S) I Can’t Put My Arms Around A Memory alt. As above. (S) Another fine and longer version of “Red Top” here! WOODY HERMAN & HIS ORCHESTRA NYC. Sept. 6, 1944 Personnel as above. Broadcast “Old Gold Show”, three FP soli found (note that first half of “Perdido” is used as a closer): Perdido Solo with orch 16 bars.
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